After having choreographed the most profitable stadium tour of all time (you have never heard of the Eras tour of Taylor Swift, isn't it?), Mandy Moore still busée Also remains in demand as ever. A few months ago, Moore brought his creative vision to Las Vegas neon lights to rework parts of AwakeningA show at the Wynn Las Vegas which includes aerials, acrobats, puppets and, of course, dance.
The choreographer and winner producer of the Emmy Award – a Newly struck member of the Academy of Arts and Cinema Sciences– did a moment of his wild schedule to discuss Awakening, How she shaped her career and the problems faced by choreographers in 2024.
You do so much these days. How, at this stage of your career, do you choose the projects to be undertaken?
First of all, does the project excite me? Do I like music or people with whom I work with? Is this a medium in which I have not worked before? The real problem is that I am down for all this. Often, I do just what happens first, because I really like what I do.
For AwakeningThe fabulous (producer / director) Baz Halpin is my good friend, and he invited me to rework the “land section” of the show. When I saw the team that had already been reunited, I immediately said yes.
What was your approach to this major Vegas show?
I looked at the show before rehearsing and I saw these humans in costumes that looked like trees. I thought it would be cool to create more structure and rework the staging so that they can become a root system. I watched a lot of videos on Youtube on the way trees move in the wind and I looked for what trees do in storms and sunlight so that I can imagine shapes in my head. Then I tried to make a motion language that corresponded. For example, a root system through the ground or a trembling branch in thunder – These analogies were really useful. The dancers are a team of krumpers, lockers and flexibles which are hypermobile in their articulations, so it was really cool to work with them and to give life to the vision.
How do you create a vision / vocabulary of distinctive movement for each project you do?
Much of my work is to seek and understand the world I try to create. Lots of time and efforts are devoted to it. Is it a live performance? Is it a television? Is it a film? Is it in an intimate space? Is it vast? What do they wear? It is the one, what, where, when and why. I must be able to answer these questions before creating. If I can do it, I understand the path in which we are, and the work ends up being unique and the best possible.
As an active member of ChoreographersWhat do you think of the progress that the group has made so far? And what are the most urgent problems that the choreographers even well established as you continue to face in the world of entertainment?
There was greatly in terms of visibility. What follows is the possibility of having greater meetings. We can go to subsidence, or the press, or a studio and say: “Hey, it came for our community – are you ready to talk about it?” But there are many protections that we still need: health, pension, residues. We are at the start of the climb now that we are unified.
